Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
The film is a specious mix of febrile sex and faux race commentary.
The film is a cute, quirky, but predominately superficial portrait of brainy wordsmiths.
Chris Paine’s Who Killed the Electric Car? delivers cinematic activism of an eco-friendly variety.
Anthony Giacchino uncovers a gripping lost chapter in the history of human rights activism with The Camden 28.
Cyndi Williams’s performance in Kyle Henry’s Room is a searing articulation of post-traumatic stress disorder.
Going Under is mustier than Secretary.
Every history book has a mundane chapter you don’t want to study that will still be covered on the final exam.
George W. Bush’s human rights violations have fully caught up with today’s documentary filmmakers.
Once in a Lifetime is an uncanny reflection of soccer itself.
This is the perfect Disney film for every definition of family.
Everything you ever wanted to know about sexual perversity but were afraid to ask is on anemic display in Bret Wood’s new film.
Crossing the Bridge: The Sound of Istanbul documents German avant-garde musician Alexander Hacke’s journey throughout Turkey’s sonic landscape.
Amy Sedaris’s Jerri Blank is the project’s greatest visual effect.
This latest unnecessary remake of a minor horror flick lacks even the benefit of novelty.
With Distant Voices, Still Lives, Terence Davies exults cinema’s transformative powers past, present, and future.
Movies encapsulate our mythic past, time capsules of how we lived.
The film is shrewd enough to refrain from overselling its considerable racial, socio-economic, and gender undercurrents.
A/K/A Tommy Chong’s dramatic thinness doesn’t dilute its simultaneously ridiculous and terrifying portrait of federal prosecution run amok.
Always there’s a sense that the story’s characters are acting out an urgent and mythic act of social restoration.
Mauritz Stiller’s film is almost too flamboyantly embossed with the miasma of cheeky hedonism.